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The Album of Mattia De Rossi's Drawings. Projects for the Galleria

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The Album of Mattia De Rossi's Drawings. Projects for the Galleria ArcHistoR anno II (2015) n. 3 DOI: 10.14633/AHR016 The album of Mattia De Rossi’s drawings. Projects for the Galleria Colonna ai Santi Apostoli Antonio Russo [email protected] The study proposed here on Mattia De Rossi, a pupil of Gian Lorenzo Bernini and his most trusted collaborator, is part of an investigation that the author is doing on the figure of the architect, making use of an obvious investigative tool: his drawings. In particular, the exceptional discovery of a bound volume of about 200 drawings of Mattia is a resource of great effectiveness for the study of his professional figure. Among the sheets of the collection, those relating to the construction site of the Galleria Colonna in the eponymous palace in Piazza Santi Apostoli in Rome, are presented. These drawings explain the important contribution of Mattia and the creative process that led him to the definitive version of the central hall of the gallery. The drawings are also the only graphic documents related to the project of the Galleria Colonna, now only partially known through hypothetical reconstructions. The case of the Palazzo Colonna is similar to other projects included in the volume, which enlighten us on De Rossi's career, and which explain his position in several important Roman buildings of the second half of seventeenth century. L’album dei disegni di Mattia De Rossi. I progetti per la Galleria Colonna ai Santi Apostoli Antonio Russo Mattia De Rossi (1637-1695), allievo di Gian Lorenzo Bernini (1598-1680) e suo fidato collaboratore, fu un architetto romano attivo nella seconda metà del Seicento1. Sebbene il suo profilo professionale sia stato ripercorso in una monografia generale e in alcuni studi circostanziati2, la sua personalità è ancora strettamente legata all’operato del maestro e, a seguito della morte di questi, al confronto sulla scena romana del tempo con il ben più ambizioso collega Carlo Fontana (1638-1714). Eppure, come è noto, De Rossi ebbe in vita una certa fortuna che gli permise dapprima di far parte dell’Accademia di San Luca e, in un secondo momento, di diventare Principe della stessa istituzione, nonché soprastante architetto della Reverenda Fabbrica di San Pietro, la massima autorità tecnica a seguito della temporanea soppressione della carica di architetto della basilica petrina dopo la morte di Bernini. In effetti, solo ultimamente la figura di Mattia si sta delineando con maggiore chiarezza, grazie agli apporti di nuovi studi più puntuali sul suo operato che ne dimostrano la valenza professionale nell’intricata messe di architetti e tecnici operanti nell’ambiente romano della seconda metà del diciassettesimo secolo3. Sono molto grato ad Augusto Roca De Amicis per la consueta disponibilità e l’indispensabile aiuto ricevuti durante la stesura del presente contributo. 1. Per la biografia dell’architetto vedi Anselmi 1991; Menichella 1991. 2. Menichella 1981a; Menichella 1981b; Menichella 1985. 3. Marinelli 2010; Antinori 2014, pp. 170-174. 79 Lo studio qui proposto è parte di un approfondimento in atto da parte di chi scrive sulla figura di De Rossi e si avvale di un importante strumento di indagine: i suoi disegni di rilievo e progetto, in forma di schizzi e di elaborati in pulito di presentazione. Nella fattispecie, l’eccezionale rinvenimento di un volume in cui sono rilegati circa duecento disegni di Mattia rappresenta per la conoscenza della sua produzione una risorsa di grande efficacia4. Tra i fogli della raccolta si è scelto di presentare quelli relativi al cantiere della Galleria Colonna nel palazzo omonimo in piazza Santi Apostoli a Roma che, secondo quanto riportato nella storiografia più recente, vide protagonisti privilegiati Bernini, Carlo e Girolamo Fontana (1665/1668-1701), e solo in posizione secondaria De Rossi5. I disegni che qui si presentano stabiliscono invece un nuovo equilibrio sui ruoli svolti dai singoli architetti, mettendo in luce la decisiva partecipazione di Mattia, di cui si chiariscono l’importante apporto e il processo ideativo che portò alla definizione dell’ambiente centrale della galleria. Gli elaborati rappresentano altresì gli unici documenti grafici relativi alla fase ideativa della fabbrica colonnese, a oggi solo parzialmente nota per mezzo di ipotesi ricostruttive6. Il caso del Palazzo Colonna può essere preso ad esempio degli altri progetti presenti nel volume, i quali informano sul modus operandi di De Rossi e documentano alcuni importanti cantieri romani del secondo Seicento. Il volume è stato battuto all’asta nel 2012. Nelle schede di vendita dei singoli fogli7, i disegni non vengono attribuiti a De Rossi ma a «Ecole Italienne du XVIIème siècle»8, limitandosi a restituirgli un unico foglio, quello firmato (f. 104r, lotto 103). Tanto meno sono state individuate le destinazioni dei 4. Vedi infra nel testo e alla nota 7. 5. È quanto traspare da Strunck 2007 e Strunck 2008, come rileva anche Stefanie Walker (2010, p. 603), la quale è a favore dell’importante ruolo di Mattia nella definizione della Galleria Colonna. 6. Vedi alla nota 39. 7. La casa d’aste è Leclere Maison de ventes (5, rue Vincent Courdouan, 13006 Marseille). L’asta è avvenuta il 31 marzo 2012 con l’intestazione “Album de dessins d’archtecture”; nel sito della Casa sono consultabili l’album e le schede dei singoli fogli affiancati dal numero del lotto di vendita che non corrisponde al numero di foglio del volume perché non è contemplato il “foglio di guardia” dove sono segnate le seguenti iscrizioni: f. 1r «205 Dessins d’Architecture de Mathieu de Rossi. acheté quatrecentes livres»; f. 1v «Appartenant à Couver fils en 1805 Couver». I fogli non sono numerati ma si è scelto di dare un numero progressivo a questi partendo da “1” assegnato proprio al “foglio di guardia”. Il libro è composto da 145 fogli; su ogni foglio ci sono uno o più disegni (massimo tre, come nel caso del f. 103r dove in basso a sinistra si riconosce il crocefisso- tabernacolo dell’Assunta di Ariccia di Bernini) per un totale di 203. Sul dorso di copertina è presente l’iscrizione «C. Matthia De Rossi architetto». I disegni sono sul recto dei fogli e solo in due casi anche sul verso (ff. 89r, v; 90r, v); su due fogli ci sono due alette incollate al disegno con diverse opzioni (f. 101r progetto per una fontana, f. 143r progetto per la cella campanaria di un campanile); in altri casi i fogli sono piegati verso l’interno perché contengono disegni di dimensioni più grandi del formato del volume (cm 55x39). Ringrazio il signor Damien Leclere per la disponibilità e per l’autorizzazione a pubblicare le immagini dei disegni. 8. Ad eccezione del f. 50r (lotto 49) firmato da Giulio Cerruti sul quale vediCurcio 2003, p. 300; Zancheri 2003, pp. 333-334. 80 L'album dei disegni di Mattia De Rossi progetti rappresentati9: non è stata fatta alcuna ipotesi sui disegni (spesso omettendo o riportando in maniera del tutto errata le iscrizioni apposte sui fogli), i quali invece danno importanti informazioni sulle fabbriche eseguite o progettate dall’architetto e permettono di comprendere lo scarto esistente tra l’idea progettuale e la sua realizzazione, spesso in favore della prima che si caratterizza per maggiore complessità e valenza formale rispetto a quanto eseguito. Del corpus grafico anticipo qui un elenco scelto di disegni con il riconoscimento dell’oggetto rappresentato: f. 2r (lotto 1), scenografia architettonica; ff. 3r-13r (lotti 2-12), f. 15r (lotto 14), viste di edifici e villaggi; f. 16r (lotto 15), rilievo della fontana dell’Organo a Villa d’Este a Tivoli10; f. 17r (lotto 16), rilievo della fontana d’Europa a Villa d’Este a Tivoli; f. 20r (lotto 19), pianta della chiesa di Sant’Andrea al Quirinale con il progetto della pavimentazione11; ff. 21r e 24r (lotti 20 e 23), progetto della cappella Torre nella chiesa di Santa Maria Maddalena a Roma12; f. 25r (lotto 24), pianta e sezione del tiburio di Sant’Andrea delle Fratte13; ff. 30r e 31r (lotti 29, 30), due sezioni orizzontali della cupola della basilica di San Pietro in Vaticano14; f. 32r (lotto 31), il disegno in alto rappresenta il progetto in pianta della chiesa di Santa Maria Assunta a Filacciano15 (v. f. 115r, lotto 114), il disegno in basso è il progetto della sacrestia di Santa 9. Ad eccezione dei fogli: 8r, disegno in alto, vista del Castel Sant’Angelo; 26r, rilievo della cappella Chigi in Santa Maria del Popolo; 29r, pianta del tempietto di San Pietro in Montorio; 30r e 31r, sezioni orizzontali della cupola di San Pietro in Vaticano; 60r, torre e magazzini del porto di Cervia. 10. Per i lavori a Tivoli vedi Roberto 2002, p. 233; per la committenza d’Este vedi onfortiC 1999, pp. 67-73 e nota 65 a p. 79. 11. Sui lavori di De Rossi alla chiesa dei Gesuiti vediMenichella 1985, pp. 64-65; in generale Marder 1998, pp. 187-209. Nel disegno al f. 20r va riconosciuto l’originale del lucido esistente in una raccolta conservata alla Bibliothèque Carré d’Art di Nîmes (Pistis 2009, pp. 108-109, 203-205, cat. 59). L’associazione tra il disegno e la copia permette di ipotizzare che il foglio 20r possa essere stato a disposizione di chi commissionò la raccolta di copie della biblioteca francese, Jean-François Séguier (1703-84) e Scipione Maffei (1675-1755), il primo allievo del secondo, celebre erudito e collezionista. Si ricordi che, come cita l’iscrizione nel foglio di guardia dell’album di disegni (f. 1v), esso appartenne a un francese, tale Couser. 12. Menichella 1985, pp. 81-82. 13. Ivi, p. 79. 14. Da riferirsi alla perizia sulla cupola di San Pietro in Vaticano in difesa di Bernini, vedi Baldinucci 1682, pp. 84 e sgg.
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